Dael Orlandersmith
By Darlene Donloe
Forever
is a long time.
It’s a long time
to hope, to endure, to wonder, to hold grudges, to be resentful, to love and to
hate.
Wordsmith and
performer Dael Orlandersmith’s version of Forever,
is currently playing through Oct. 26, at the Kirk Douglas Theatre in Culver
City.
This is
the world premiere of Forever, directed by Center Theatre Group Associate Artistic
Director Neel Keller. It’s a seriously intense, 90-minute, one-act,
one-woman therapy session that is uncomfortable, edgy and disturbing. The reading is about family – the ones
we were born into and the ones we create for ourselves, is emotional, dramatic,
transforming and entrancing.
In
the show Orlandersmith takes the audience on a journey through her childhood
and up to the present day. It’s a
memoir in which she reveals the harsh upbringing she endured in New York at the
hands of the one person who should have protected her from harm – her mother. It was clearly a love/hate bond. She
wonders, out loud, how and why God allowed her to be born to her mother. Their relationship was uneasy, complex
and volatile.
The
notion of family is explored in several ways - from the childhood girlfriend
that she was close to, but was separated from because Orlandersmith’s mother
didn’t like the child’s pedigree, to a police officer named Terrence O’Malley
who showed her love and support after she had a traumatic experience.
Orlandersmith
speaks freely and happily of her time in Paris at the famed Pere Lachaise
Cemetery where strangers from around the world make pilgrimages to the graves
of legendary artists like Jim Morrison, Sarah Bernhardt, Chopin, Marcel Proust
and Richard Wright. Parts of the reading take place in the legendary cemetery. It
was, surprisingly, a happy place for Orlandersmith who shared a different kind
of ‘kinship’ with the strangers who journeyed there. It was a kinship based
solely on common interests.
When
she was young and trying to find her way, Orlandersmith found solace and
happiness in the music Jim Morrison, which apparently opened up a whole new
world for her, one that included kindred spirits. Those like-minded writers and
performers helped shape her soul.
Although
the legacy left by her mother was filled with bitterness, mystery, pain and
abuse, Orlandersmith walked through the pain by focusing on poetry, art and
especially music.
Orlandersmith,
whose previous plays include Stoop
Stories and Bones, has a natural,
smooth cadence as she slowly reels in the audience with powerful material that
leaves them spent. She didn't like her mother - that's clear. Her mother had issues with her - that's clear. Until recently, Orlandersmith had never mentioned her mother's name on stage. She finally did with this show. Her mother's name was Beulah Brown. Orlandersmith seemed to utter the name as a way of freeing herself from her mother's emotional grip.
This
isn’t a production that is easily digested or ingested. It evokes memories and
encourages conversations.
Hers
is a gripping and candid account of a relationship with her broken, alcoholic mother
that she, herself, admits will affect her Forever.
The
play is dedicated to Orlandersmith’s mother, Beulah Brown.
Orlandersmith’s award-winning plays
have been commissioned and presented by theatres across the U.S., including
“Black n’ Blue Boys/Broken Men,” “Horsedreams,” “The Blue Album,” “Yellowman,”
“The Gimmick,” “Monster” and “Beauty’s Daughter.” She is the recipient of the New York Foundation for the Arts
Grant, the Helen Merrill Award for Emerging Playwrights, a Guggenheim and the
2005 PEN/Laura Pels Foundation Award for a playwright in mid-career and a
Lucille Lortel Foundation Playwrights Fellowship.
Forever
is the second, among five, DouglasPlus presentations for the 2014-2015 Kirk
Douglas Theatre season. Forever was commissioned and developed by Center Theatre Group.
Forever is a
DouglasPlus presentation. DouglasPlus is an eclectic mix of theatre choices,
ranging from fully-staged or minimally-staged events to workshops and readings
that utilize both traditional and non-traditional performance spaces and
seating configurations within the theatre. Each presentation has a limited
number of performances.
On the DONLOE SCALE: D (don’t bother),
O (oh, no), N (needs work), L (likeable), O (oh, yeah) and E (excellent), Forever gets an E (excellent).
Forever, Kirk Douglas
Theatre, 9820 Washington Blvd., Culver City; Tues. – Fri., 8 p.m.; Sat. 2 and 8 p.m., Sun.1 and 6:30
p.m.; $20-$30;
www.CenterTheatreGroup.com or
213 628-2772.
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